Section 2: Project COMPOSITION: Research Point: Negative spaces.

The use of the Negative Space in art fascinates me - I think specifically of Paul Gaugin who used it very effectively in his paintings:
In his Vision of the Sermon the fabulous use of the bold, red, negative space speaks volumes about the atmosphere of the painting and draws our attention over the heads of the Breton maids and fixes it on the scene of Jacob wrestling with the angel. Here Gaugin uses the negative space as a focal point as well as a device which arouses our emotions gives voice to an unusual view of the imagined impact of a sermon on the Breton woman.

Guagin, Paul. The Vision after the Sermon. (online) [available from: https://www.gauguingallery.com/biography-developing-as-gauguin.aspx]

Gaugin, Paul. Portrait of Van Gogh Painting Sunflowers c1889. (online) [available from: https://www.gauguingallery.com/biography-developing-as-gauguin.aspx]

In his Portrait of Van Gogh paiting sunflowers, Gaugin creates a wonderful tension between the artist and his canvas with the use of the negative space. The bold yellow, blue and green bands pull us from artist to canvas and back again.

Artist's who use negative shapes creatively in their work:

Hume, G. 1998 Serith. (online) [available from: https://www.tate.org.uk/art/artists/gary-hume-2403]

Da Franca, Henrique. (online) [available from https://mymodernmet.com/negative-space-art/]

I like this. The large , overwhelming white space lends a feeling of vulnerability to the figures.

These artists use Negative spaces as a device: it seems to me to be contrived and gimicky but has an interesting and whimisical appeal, nonetheless.

Tang Yua Hoong. (online) [available from:

https://mymodernmet.com/negative-space-art/]

Fukuda, Shigeo. (online) [Available from: https://mymodernmet.com/negative-space-art/]

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Section 2: DETAILED OBSERVATIONS OF NATURAL OBJECTS: Exercise 1: DETAIL AND TONE

Fallen Leaves Study. For this the subject is 3 dried leaves which I found during my walk, all three in varying stages of decay. I used colored pencils and oil pastels. I left the majority of the page white as I wished to capture the intense light and the lovely colorful shadows that the leaves cast on the crisp white paper that they were perched on. I enjoyed the success that I achieved with the papery delicate feel of the leaves and it was only till I had layered the oil pastel on top that the drawing "popped". What i learnt here was not to be "precious" with your work. Detail 1. Detail 2. And then I cropped it. I think that the composition is better here. There is less negative space and the longer format works better with the length of the leaves and the horizontal lines that they present. Some practice - Lemons in conte crayon

Project 2: Exercise 3: Creating Shadows with lines and marks.

Did a lot of practice here before I attempted the exercise. What I learnt here is that implied lines are enough and by not outlining the objects a looser, softer and yet "more real" effect is obtained. This is interesting to me - is it because the brain completes the picture and is therefor more involved in the process and is then more invested in being interested in the painting?! This was 4B pencil. This is some of the practice. Got bored so the bottom 2 ain't great...

Section 3: COMPOSITION. Exercise 1.

Composite drawing from sketches and photographs. This exercise excited me as I looked at the elements that interested me in the landscape around me and drew from previous work. I realised that a work didn't need to be constructed from only the visual information in front of me but could be drawn from elements in previous sketches and pieced together. I looked through the work I had done: Sketchbook for Exercise 1. and did some sketches: And decided to put together 2 works... the park sketch in charcoal that I did on the Sketchbook Walk exercise: And a 360 sketch of the view over a small stadium and the eastern part of the city. so as to combine the feeling of the concrete jungle and to reflect more fully the sanity of the park spaces in this mega city. This then the final work: I used a number of techniques and materials: Dipping pen with ink and wash, powder charcoal and green Japanese brush pen. On reflection I am pleased with this

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